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It is just you_JINUMO_interview  
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Posted on Sep 13 2016
Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview

Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview






Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




How old were you when you starting having an interest in fashion? Which were your influences at the time?
My mom was a tailor and she worked at home since I was a child, I discovered sewing tools, the machine, and was fascinated by the sight of how she worked. The fabrics and tools became sort of my toys back then, as children love to have imagination on what they create. It was when I grew up, that I clearly decided that fashion is inside of me, somewhere in my soul, and that I need to expose my talent. It started when I was in university and I joined in a fashion design competition in Thailand and got the winning title that year. This is what proved to me that I have the skills to do fashion and make a career out of it.





Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Looking back to 2009, at the time you established your brand, do you think that through the years there have been changes
in the way you deal with design and your view of fashion in general?

For me, the way I deal with design hasn't changed much, I don't do inspirations from books, history, arts, music, etc. I mostly start my design process by getting inspired from the materials I use. Those materials will then lead me to several ideas and techniques to eventually develop the collection. As for my view of fashion, the concept of design has changed for me. Most of the designers now who do their own label and have an individual style,
keep their design aesthetic no matter how established the brand is. An upkeeping of the distinct DNA of the brand.
This is a quite sensitive subject as I can say that when you do so many collections, you have to be concerned on how to reinvent your unique identity as a brand because if not, it will just be the same collection over and over again.





Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Which factors have helped shape your aesthetic sensibilities?
I love being alone. I love it when I don't have to talk to anybody and just think to myself. You don't have to rely on somebody else, it's just you.
And in the end, I finish with a collection that comes entireply and purely from me.





Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




What influences of your rich cultural heritage do you feel are most evident in your work?

I think this is quite deep for me. As I said I don't do inspiration and story, I do technique. I often mix materials and concentrate on details and symmetry. I think this is influenced by where I grew up, the cultural sense of delicate art is present everywhere; in the arrangement of food for religious offering, in dance, in temples etc.





Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Apart from fashion, you are also actively interested in photography.
What was it that sparked your initial interest in it?

Fashion and photography are always intertwined and my interest in photography really flourished when I was 12.
In that time it was just film and no digital camera. I joined the photography club in my school and found that I like taking the pictures of light and shadow. With film cameras, you have to wait for the process in the lab to see the pictures and I think that is valuable. It's the same feeling as when you give your design over to production and wait to see when the clothes are ready. It's the anticipation and excitement that I love about these two disciplines.





Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview




Jinumo-ladiesngents-jinumo interview-Jin Thammachote interview



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Chengxu Tian_Beautiful Shoes_Interview  
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Posted on Jul 21 2016
Chengxu Tian-ladiesngents-Chengxu Tian interview

Chengxu Tian-ladiesngents-Chengxu Tian interview



Chengxu Tian-ladiesngents-Chengxu Tian interview




How old were you when you first developed an active interest in shoe design?
I think I must have been 21, at the time that I was a sophomore. I was doing a BA on Fashion Accessory Design that included bags, shoes, jewelry.
To be honest, I love all of them. Later I attended several competitions about shoe design, to which I dedicated a lot of energy and effort. I then decided that shoe design is my favourite thing. Just like in relationship , in the beginning, you might just like her or him, which is quite superficial.
But when your relationship gradually deepens, as you dedicate energy and invest emotionally into this relationship, you know that she or he is your true love.
Shoe design is just like this for me.





Chengxu Tian-ladiesngents-Chengxu Tian interview




Chengxu Tian-ladiesngents-Chengxu Tian interview




Chengxu Tian-ladiesngents-Chengxu Tian interview




Would you share with us the philosophy behind “The Layering Movement 2016”?
My collection is inspired by 3D layering texture effect. Improving injection mold technique to create excellent dynamic 3D layering texture materials is my design guideline. Actually, this collection closer to a commercial direction. It does not have any deep philosophy. Two points are very important for me when I design shoes. One of them is that shoes must be beautiful or cool, the second point is that they should be wearable and comfortable. I do not like shoes that look ugly, even they have an interesting concept. I also want to design unique shoes, not only in terms of pattern.




Chengxu Tian-ladiesngents-Chengxu Tian interview




Chengxu Tian-ladiesngents-Chengxu Tian interview




Chengxu Tian-ladiesngents-Chengxu Tian interview




Looking back, do you think that there have been significant changes between the way
you used to work when you started out and the way you work now?

For me , that is the same, each of my collection follows a commercial direction. So my design guideline is to focus on my target consumer.
I still care about what clients want and what I can do to satisfy ther needs. 





Chengxu Tian-ladiesngents-Chengxu Tian interview




Chengxu Tian-ladiesngents-Chengxu Tian interview




Chengxu Tian-ladiesngents-Chengxu Tian interview




Is there a pair of shoes that you long to design?
Yes, I hope I can design a most beautiful shoes for my wife, for our wedding ceremony.
It will be a unique pair that nobody else in the world will have. Lol





Chengxu Tian-ladiesngents-Chengxu Tian interview




Chengxu Tian-ladiesngents-Chengxu Tian interview


chengxutian.com




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Anouk van Klaveren_Outsider with Grit_Interview  
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Posted on Jun 27 2016
Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview


Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview


Silhouet study2 PROJECT 000 005




Does your work in any way draw from the Dutch fashion design tradition?
Are you in any way interested in exploring it?

I think my unglamorous approach to fashion might be linked to the down-to-earth mentality of the Dutch.





Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview


PROJECT 000 004 - Hypertrichosis bow tie 2.0 (Identitiy Factory)

Photography by Dayna Casey and Joel Nieminen
Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

project 000 004 Hypertrichos bow tie 2.0



You have said that you are interested in the way "fashion enables us to create social structures and hierarchy.”
Do you see this as a natural and inevitable aspect of fashion?

Yes. Ceremonial robes of Nyimi Kok Mabiintsh III, King of Kuba (Congo) are a great example of this. The Pope, Napoleon, Obama; They all have their clothes to show their position. It does not necessarily mean that clothes are always meant to show off. Uniforms for example, show the urge to be equal.
Fashion is communication and it's everywhere; on the streets and among your friends as well.






Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview


PROJECT 000 005 - 'His Majesty Prefers Pigs'
 photo by Imke Ligthart



Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

PROJECT 000 002 - Vestes Ad Illustrandam Embryogenesin Hominis Et Mammalium Abnormen
Photography by Rik Versteeg and Wim Klaassen




Your work in many ways merges fashion with visual arts.
Do you recognise the influence of specific artists in the way you design?

There are many artists I admire. I love films of Jeroen Eisinga. And the glowing bunny of Eduardo Kac.





Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

PROJECT 000 005 - 'His Majesty Prefers Pigs'  photo by Imke Ligthart




Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview


lookbook PROJECT 000 005 - 'His Majesty Prefers Pigs'
Photography by Janne van Gilst




When starting to work on a new project, are you driven by inspiration or
rather by an inner need to make a statement?

It’s a combination of both. I’m often attracted to objects that do not fit western standards of beauty, or that were considered as beautiful
in other time and place. Can something be ugly and beautiful at the same time?
Sometimes I can see so much potential in Kitsch of trash. I try to capture these contradictory feelings in my projects,
and ask the audience the same question as I ask myself.






Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

DLAH-anouk WEB photo by Jeronimus van Pelt


Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview


PROJECT 000 005 - 'His Majesty Prefers Pigs' photo by Imke Ligthart





Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

PROJECT 000 005 - 'His Majesty Prefers Pigs' photo by Imke Ligthart




Would you share the ideas that helped realise  «XOX, His Majesty's Royal Pig»?

For PROJECT 000 005 - 'His Majesty Prefers Pigs' I created an imaginary tribe. I designed oversized robes, aluminium masks, relics, and jewellery made of silver, gold, pearls and human hair. Pieter van Vliet, a songwriter, wrote stories about the characters based on my designs, and together we came up
with fictional habits and rituals of the tribe. The central figure of this project is a pig, owned by a Czar.
I came up with the idea quit spontaneously, but I like the tension between the pearls and the pig. It could be a reaction on people treating and dressing their Chihuahuas as kings. By replacing the dog for a pig, which has a completely different status in our culture, I express my astonishment about this dog-thing.
We had lots of fun photographing the pig, in collaboration with Imke Ligthart. We booked a domestic pig, which had experience in modelling,
but still it was running around all the time. The only way to keep it on the right spot was by feeding it fruit, vegetables and cookies instantly.





Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

PROJECT 000 005 - 'His Majesty Prefers Pigs' photo by Imke Ligthart




Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

PROJECT 000 005 - 'His Majesty Prefers Pigs' photo by Imke Ligthart




Anouk van Klaveren-ladiesngents-Anouk van Klaveren Interview

PROJECT 000 005 - 'His Majesty Prefers Pigs' photo by Imke Ligthart




If you could change one thing about the fashion industry, what would this be?
I do not really want to change something, but rather stay away from it in the best possible way. I’m a bit of an outsider in the industry, and I actually like that.
I do not produce on large scale and finish projects at my own pace. As a consumer I stopped buying new clothes.
I relate to it, on a more personal level and in matters of my individual choices.





anoukvanklaveren.com







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Benjamin John Hall_Shoes & Ideas_Interview  
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Posted on Jun 23 2016
Benjamin John Hall-ladiesngents

Benjamin John Hall-ladiesngents



You approach shoe design with the eye and sensibility of an artist, while also having all the skills of the expert shoemaker.
How did you arrive to this way of working with shoes?


I have a lot of varied experience in shoes from working for one of the largest footwear companies in the world to small startups,
teaching both design and shoemaking and running my own studio. Through time I realised that I'm more interested in ideas and slowly ideas started to become more important than shoes. So although I have and still work in the footwear/fashion industry my own practice has leaned towards art and I take the skills I've learned working in footwear with me to help execute ideas. In my work shoes are just a medium like a paint brush, pencil, gauche or acrylic.






K O M P R O M A T  (key technical piece)


Benjamin John Hall-ladiesngents




Benjamin John Hall-ladiesngents




Benjamin John Hall-ladiesngents




Benjamin John Hall-ladiesngents



Concealed as a design detail and woven into the back of the wedge on this black and white T-strap is a gunpowder-fuse trim. This fuse can be activated from up to 20 metres away and is detonated wirelessly by opening, pretending to drink and then crushing the accompanying soft drink can. Kompromat is Russian for ‘compromising material’ about a politician or other public figure. These materials are generally used to create negative publicity,
to damage reputations or for use in blackmail. This pair of shoes is not intended to hurt anyone wearing them or standing in the vicinity; instead they are designed to place the wearer in a compromising situation in which the potential of being arrested and questioned is increased.
Shoes: optic white goat leather with gloss Italian box calf, gunpowder-fuse trim and printed components. Soft drink can: 3D-printed components, aluminium can.








G E I G E R  (key technical piece)


Benjamin John Hall-ladiesngents



Benjamin John Hall-ladiesngents



Benjamin John Hall-ladiesngents



Benjamin John Hall-ladiesngents



This Japanese geta, with a separate leather sock and
matching make-up case, conceals technology allowing the wearer to detect radiation in their immediate environment. Controlled by a monitoring system within the platform of the shoe, the strap vibrates to alert the wearer of any radiation pulse it detects. Concurrently, the amount of radiation is continually updated on a wireless LED display embedded in the make-up case, allowing the wearer to discreetly check contamination levels and act accordingly.
To avoid suspicion, an invisible pressure button toggles the LED reading from time to radiation level.
Shoes: printed components, equine leather with chrome plating. Make-up case: 3D-printed components, with embossed leather and metal plating.









K R Y S H A


Benjamin John Hall-ladiesngents



A zip around the ankle of this mid-calf boot, when opened, allows the wearer to extend it to the top of the thigh. Each layer uncovers a segment of printed silk,
which outlines an inventory of crimes with a signature against them. Krysha is Russian criminal slang for ‘roof’ or ‘protection’, referring to a business practice common in post-Soviet Russia, in particular by newly moneyed oligarchs, of paying individuals with political and mafia
connections significant sums of money in return for protection. By uncovering each one of the five preauthorised levels outlined on the boot, the wearer can activate emergency Krysha. Digital print on Habotai silk with equine leather.








For your collection “Laboratory 12" you experiment with state-of-the-art technology, and in doing so the results challenge our imagination and  inspire us. In what way does footwear provide interesting space for experimentation? In other words, why did you choose footwear as a vehicle for experimentation?

I've been making shoes since I began to study shoemaking and design when I was about 19 years old so shoes have become a type of language for me. There is always experimentation in shoe design, this could be as simple as holding up two Pantone colour combinations together to see if they look good or it can be taken to extremes for more extreme results. Experimentation is crucial for design and I would say a key component in creativity. The more you do, the more likely your work will be original.

Footwear is interesting to experiment with as there are many views people have in terms of the criteria footwear should meet, is it luxurious, is it sexy, is it functional, is it cheap or expensive, is it rare, what does it say about the owner etc and all of these notions can be challenged, mixed to varying degrees and thrown in to the cooking pot.









Z E R S E T Z U N G  (key technical piece)



Benjamin John Hall-ladiesngents



Benjamin John Hall-ladiesngents



Benjamin John Hall-ladiesngents



This platform sandal houses a mechanism that can be activated by sending a text message to a defined phone number: the letter ‘x’ sets off an atomiser emanating a negative smell. Zersetzung is German for ‘corrosion’ or ‘dissolution’, and refers to a psychological technique employed by the Stasi – the East German secret police – who would infiltrate a victim’s day-to-day life, orchestrating repeated disappointments and socially alienating them by disrupting their relationships with others.
These shoes’ function, therefore, is intended to disconcert the wearer, who, unaware of the origin of smell, over time would become more self-conscious, prompting more restrained behaviour and a reduction in confidence.
Shoes: printed wedge with equine, goat and baby hair on calf. Mobile phone: Huawei model no. Y360-U31.








C H A P M A N


Benjamin John Hall-ladiesngents



Benjamin John Hall-ladiesngents



This knee-high boot has a recordable listening device embedded in its 3D-printed heel. It was inspired by a network of Russian sleeper agents, nicknamed The Illegals Program and caught in 2010, in particular one of its members – Anna Chapman – who gained notoriety for her lavish lifestyle and good looks. These boots can be dialled into by mobile phone from anywhere in the world to capture clear sound within a four-metre radius.
Printed heel with recording listening device. Baby hair on calf and Chateaubriand trim.








L A S T O C H K Y


Benjamin John Hall-ladiesngents



Benjamin John Hall-ladiesngents



Benjamin John Hall-ladiesngents



Lastochky, Russian for ‘swallows’, is a term commonly used to describe attractive young women used to seduce KGB targets. Often these women have lengthy affairs with men in positions of political influence, which enable them to obtain bargaining materials with which to blackmail their victims. These shoes disguise a DNA swab, concealed in the back tab of the heel, allowing the wearer to obtain, store and preserve samples of semen,
saliva or hair for future use in extortion.
Goat skin with baby hair on calf and equine trim, printed heel and DNA swab.








B E S P R E D E L



Benjamin John Hall-ladiesngents



Benjamin John Hall-ladiesngents



This classic men’s whole-cut’s most distinct design features are its scorpions tails, whilst the heel cup can be manipulated to fit personal data exploring modern notions of bespoke shoe making. Bespredel, a Ukrainian word that means ‘without limit’, describes a situation when someone in power — be it political, financial or criminal — does whatever he wants with complete impunity. Litvinenko’s alleged killer Andrey Lugovoy was made a Member of Parliament on his return to Russia, a status that grants parliamentary immunity from prosecution.
Printed heel cup with Chateaubriand leather. Reverse forcelasted
Bologna construction ©.








When designing and experimenting with a piece, do you ever picture the person who will wear your creation?
Would you like to get to know them personally, do you care who these people are?


No I only think about the concept and how it can manifest throughout the work. I might consider consumer profiling for more commercial work but for advanced projects the idea comes first, then the shoes, and then the wearer, if there is one!




benjaminjohnhall.com




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